Kirjahaku

Displaying gleaming new shopping centers and refurbished row houses, Harlem today bears little resemblance to the neighborhood of the midcentury urban crisis. Brian Goldstein traces Harlem’s widely noted “Second Renaissance” to a surprising source: the radical 1960s social movements that resisted city officials and fought to give Harlemites control of their own destiny.In the post–World War II era, large-scale government-backed redevelopment drove the economic and physical transformation of urban neighborhoods. But in the 1960s, young Harlem activists inspired by the civil rights movement recognized urban renewal as one more example of a power structure that gave black Americans little voice in the decisions that most affected them. They demanded the right to plan their own redevelopment and founded new community-based organizations to achieve that goal. In the following decades, those organizations became the crucibles in which Harlemites debated what their streets should look like and who should inhabit them. Radical activists envisioned a Harlem built by and for its low-income, predominantly African-American population.In the succeeding decades, however, community-based organizations came to pursue a very different goal: a neighborhood with national retailers and increasingly affluent residents. In charting the history that transformed Harlem by the twenty-first century, The Roots of Urban Renaissance demonstrates that gentrification was not imposed on an unwitting community by unscrupulous developers or opportunistic outsiders. Rather, it grew from the neighborhood’s grassroots, producing a legacy that benefited some longtime residents and threatened others.

The first biography of a preeminent postwar architect who championed the cause of freedom through architecture and transformed Black history and modernism J. Max Bond Jr. (1935–2009) was a civil rights activist, educator, and architect who shaped such iconic structures as the King Center for Nonviolent Social Change in Atlanta, the Smithsonian’s National Museum of African American History and Culture in Washington, DC, and the 9/11 Memorial & Museum in Manhattan. Driven by the concerns of the civil rights movement, he insisted on a practice centered on deep social engagement during years when his profession became preoccupied with celebrity and spectacle. Harvard educated and son of an eminent African American family, Bond expressed an architectural vision that was democratic and inclusive, international in orientation, and celebratory of cities and their diverse residents. He designed housing, cultural institutions, community centers, and campuses amid an era of sweeping changes in architecture, urbanism, and American culture. Yet his work has often been overlooked. Award-winning historian Brian Goldstein renders it visible. Beautifully illustrated, Max Bond is the definitive biography of one of the most important architects of our time, whose aspiration toward an architecture by and for the people was as urgent in his day as it remains in our own.